The twelve architects featured in this book designed ninety-four hotels from 1878 to 1948. Many of them worked as apprentices in architect’s offices. Some were lucky enough to study in an architectural college, and some were wealthy enough to attend the École des Beaux-Arts (School of Fine Arts) in Paris. This school has a history of more than 350 years in training many of the great artists of Europe. Beaux-Arts’s style was modeled on classical antiquities. The origins of the school were drawn from 1648—when the Académe des Beaux-Arts was founded to educate the most talented students in drawing, painting, sculpting, engraving, and architecture. Women were admitted beginning in 1897.

The fourteen architects featured in this book designed 304 hotels and apartment hotels. Many were designed on the European plan for families to live without full service kitchens. Meals were prepared and served in restaurant-type dining rooms catering exclusively to residents and their families. The apartment hotels employed full-time service staffs who prepared and served daily room service meals. The first apartment hotels were built between 1880 and 1895. They were followed by a second wave of construction after the passage of the 1899 building code and the 1901 Tenement House Law. The third wave of apartment hotel construction occurred during the 1920s and ended with the Great Depression of the thirties. The passage of the Multiple Dwelling Act of 1929 altered height and bulk restrictions and permitted high-rise apartment buildings for the first time.

The Breakers, the Waldorf, the Biltmore, the Sherry, the Pierrethese landmark hotels are synonymous with grand luxury and style. When they were built, in the 1920s, their refined elegance and grandeur set the bar for hotels and resorts the world over. Responsible for creating these and countless other hotels throughout the United States, were the partners of a single architectural firm: Schultze & Weaver. Together, this duoan architect and an engineervirtually invented the glamorous lifestyle made famous in films like Grand Hotel. Catering to the social elite of which they were themselves a part, Schultze & Weaver synthesized the Old World style of Renaissance Italy, Moorish Spain, and Georgian England with all of the modern amenities that made hotel living luxurious. This book presents portfolios of fifteen of the firms most spectacular hotels, culminating in the Art Moderne masterpiece of the Waldorf-Astoria. Over two hundred period photographs and hand-colored architectural renderings chart the ascent of the American hotel in all its glory and glamour, before the Great Depression forever changed the lifestyles of America's rich and famous. Essays address the cultural and technological developments that underpin the creation of resort and residential hotels, including the elemental role played by Schultze & Weaver. This book is published in conjunction with an exhibition at the Wolfsonian-Florida International University, Miami, held in celebration of their tenth anniversary.

During the thirty years prior to the Civil War, Americans built hotels larger and more ostentatious than any in the rest of the world. These hotels were inextricably intertwined with American culture and customs but were accessible to average citizens. As Jefferson Williamson wrote in "The American Hotel" ( Knopf 1930), hotels were perhaps "the most distinctively American of all our institutions for they were nourished and brought to flower solely in American soil and borrowed practically nothing from abroad". Development of hotels was stimulated by the confluence of travel, tourism and transportation. In 1869, the transcontinental railroad engendered hotels by Henry Flagler, Fred Harvey, George Pullman and Henry Plant. The Lincoln Highway and the Interstate Highway System triggered hotel development by Carl Fisher, Ellsworth Statler, Kemmons Wilson and Howard Johnson. The airplane stimulated Juan Trippe, John Bowman, Conrad Hilton, Ernest Henderson, A.M. Sonnabend and John Hammons.. My research into the lives of these great hoteliers reveals that none of them grew up in the hospitality business but became successful through their intense on-the- job experiences. My investigation has uncovered remarkable and startling true stories about these pioneers, some of whom are well-known and others who are lost in the dustbin of history.

The word maven is defined by Wikipedia as a trusted expert in a particular field, who seeks to pass knowledge on to others. Since the 1980s it has become more common when the New York Times columnist William Safire adapted it to describe himself as the language maven. The word from Hebrew is mainly confined to American English and was included in the Oxford English Dictionary second edition (1989). My three hotel mavens are: 1) Lucius M. Boomer, one of the most famous hoteliers of his time, was chairman of the Hotel Waldorf-Astoria Corporation. In a career of over half a century, he directed such celebrated hotels as the Bellevue-Stratford in Philadelphia, the Taft in New Haven, the Lenox in Boston, and the McAlpin, Claridge, Sherry-Netherland and the original as well as the current Waldorf-Astoria in New York. 2) George C. Boldt who was the genius of the original Waldorf-Astoria. It was said of him that he made innkeeping a profession and, more than any man, was responsible for the modern American hotel. 3) Oscar of the Waldorf who was described in 1898 by the New York Sun: In only one New York hotel, however, is there a personage deserving to be called a matre dhotel. Anyone who studies him closely will soon arrive at a firm conviction that he might quite as appropriately have been called General or Admiral, if circumstances had not led him into the hotel business. Oscar knows everybody. Oscar was a superstar of his time and one of the stalwarts who managed both the original and the current Waldorf-Astoria. Among his many duties, Oscar commanded a staff of 1,000 persons bedsides conducting a school for waiters, at the time the only one of its kind in the United States. In 1896, Oscar wrote one of the greatest cookbooks of its time: The Cook Book by Oscar of the Waldorf. It contains 907 pages and 3,455 recipes.

In the tradition of the bestselling Where Chefs Eat: the definitive global hotel guide by the real experts who know - architects No one appreciates a building quite like an architect - and now, for the first time, more than 250 of the world's leading architects share insider tips on where to stay, revealing everything from renowned destinations to undiscovered gems. With 1,200 listings in more than 100 countries, this unique guide has readers covered, whether planning a business trip or a vacation, a city break or a remote getaway, a wedding or a corporate event. It's the ideal resource, gift, and gateway to design-conscious journeys worldwide.

Completed in 1931, New York’s Waldorf-Astoria towers over Park Avenue as an international landmark and a masterpiece of Art Deco architecture. A symbol of elegance and luxury, the hotel has hosted countless movie stars, business tycoons, and world leaders over the past ninety years. American Hotel takes us behind the glittering image to reveal the full extent of the Waldorf’s contribution toward shaping twentieth-century life and culture. Historian David Freeland examines the Waldorf from the opening of its first location in 1893 through its rise to a place of influence on the local, national, and international stage. Along the way, he explores how the hotel’s mission to provide hospitality to a diverse range of guests was put to the test by events such as Prohibition, the anticommunist Red Scare, and civil rights struggles. Alongside famous guests like Frank Sinatra, Martin Luther King, Richard Nixon, and Eleanor Roosevelt, readers will meet the lesser-known men and women who made the Waldorf a leader in the hotel industry and a key setting for international events. American Hotel chronicles how institutions such as the Waldorf-Astoria played an essential role in New York’s growth as a world capital.

The transformations of the Strip—from the fake Wild West to neon signs twenty stories high to “starchitecture”—and how they mirror America itself. The Las Vegas Strip has impersonated the Wild West, with saloon doors and wagon wheels; it has decked itself out in midcentury modern sleekness. It has illuminated itself with twenty-story-high neon signs, then junked them. After that came Disney-like theme parks featuring castles and pirates, followed by replicas of Venetian canals, New York skyscrapers, and the Eiffel Tower. (It might be noted that forty-two million people visited Las Vegas in 2015—ten million more than visited the real Paris.) More recently, the Strip decided to get classy, with casinos designed by famous architects and zillion-dollar collections of art. Las Vegas became the “implosion capital of the world” as developers, driven by competition, got rid of the old to make way for the new—offering a non-metaphorical definition of “creative destruction.” In The Strip, Stefan Al examines the many transformations of the Las Vegas Strip, arguing that they mirror transformations in America itself. The Strip is not, as popularly supposed, a display of architectural freaks but representative of architectural trends and a record of social, cultural, and economic change. Al tells two parallel stories. He describes the feverish competition of Las Vegas developers to build the snazziest, most tourist-grabbing casinos and resorts—with a cast of characters including the mobster Bugsy Siegel, the eccentric billionaire Howard Hughes, and the would-be political kingmaker Sheldon Adelson. And he views the Strip in a larger social context, showing that it has not only reflected trends but also magnified them and sometimes even initiated them. Generously illustrated with stunning color images throughout, The Strip traces the many metamorphoses of a city that offers a vivid projection of the American dream.